3D photography incorporates an “immersive” element, a heightened awareness component into the final work that simply cannot be created with traditional one-eyed camera techniques.
Marius de Zayas Enriquez y Calmet, early 20th-century Mexican protégé of Alfred Stieglitz and essayist for Camera Work, envisioned photography as the herald of the new artistic age. Through photography, the artist could dispel convention-bound images of the world to coummunicate fresh awareness. “Those whose obstinancy makes them go in search of the new in Art, only follow the line of the circumference, following the footsteps of those who traced the closed curve. But photography escapes through the tangent of the circle, showing a new way to progress in the comprehension of form,” wrote deZayas.
Indeed, surreal art introduced to us a new way of perceiving our our world. But not until about 150 years ago did humans elect to view images about their world with binocular vision. Stereoscopic vision—the perception of depth and dimension—is a false reality, is a mentally conjured spatial projection with no corresponding physical existence. But as ’50s stereographer Herbert McKay contends, “Psychological projection can be a very real thing.” Or surreal thing.
No Photoshop manipulation is involved in the creation of these 3D stereoscopic images. All of the “work” takes place in front of the camera by incorporating special light-painting techniques that present the subject to whatever recording medium is utilized. While most of the images in this website were created on film, digital technology merely substitutes a sensor in place of the traditional light-sensitive emulsion.